Tompkins Projects is taking over Dan Graham during LA's art fair season. The show will feature prints, drawings and paintings from artists from across the United States. See below for a full roster of participating artists.

In addition to the opening, the show will be available for viewing on Saturday January 22nd and January 29th from 1-5 pm and by appointment.

Dan Graham is a space in Los Angeles that functions as an exhibitio...n space, to facilitate research, lectures and critiques. The aim is to create a context that’s conscious of the past, present and future contents and forms of art. Dan Graham was founded by artist, Aaron Wrinkle.aaronwrinkle.com

Tompkins Projects is an exhibition space in Brooklyn, New York. Founded by two Rhode Island School of Design graduates, Milton Stevenson and Jeanne Jo, Tompkins Projects is dedicated to showing compelling contemporary artwork from emerging and mid-career artists.www.tompkinsprojects.com

October 29, 2010
8pm – 9:30pm

Las Cienegas Projects is pleased to present a panel discussion in conjunction with the exhibition The Road to Hell is Paved... in the Main Gallery Friday, October 29 beginning at 8pm.

The discussion will bring together individuals interested in investigating issues of hegemony, colonialism and the politics of representation. The panel will be moderated by the exhibition's curator, Biddy Tran and will include Michelle Dizon, Charles Gaines, and Ashley Hunt.

Topics to be discussed include: The social role of art, art and social responsibility, art and ideology, art and hegemony

The Road to Hell is Paved... considers the impact of hegemonic practices on societies, cultures, and individuals that result in marginalization and subordination. In this exhibition, various artists explore these issues, exposing and articulating the resultant fallout that this practice leaves in its wake. Artists deal with issues of colonialism and hegemony by investigating the underpinnings of conventions of representation, as well as utopian or colonialist ideals that perpetuate or produce economic and cultural oppression.

Dennis Adams appropriates two iconic gestures from the 1960 French film Breathless and reworks them to reflect the radical political context of that time. Using digital editing techniques, Adams calls attention to actress Jean Seberg's real world affiliation with the Black Panthers, and the racial and political tension that culminates in the Algerian War of Independence.

Interview with Betty Ann extends Andrea Bowers' interest in storytelling. But this time she turns the camera on herself, recalling her correspondence with a woman bead artist that she met at the Arctic Village, in Alaska. In this video Bowers wrestles with issues of the subaltern in a problematic relationship with predominantly Eurocentric environmentalists' attempts to collaborate with locals to fight against climate change. The work additionally examines her personal struggle as an author attempting to present biographical material relating to another woman unfamiliar with the language of power.

Michelle Dizon's work focuses on questions of postcoloniality, globalization, migration, social movements, human rights, and historical memory. Filmed at a Philippine gold mine, her two-channel video installation explores the transformation of raw material into value, the liberalization of third world economies, and the imperial specter that lives on in the contemporary processes of globalization.

In a new drawing, Charles Gaines attempts to reveal the political underpinnings of experiencing art by focusing on the linguistic structures that result in our ideas and feelings. By problematizing the convention of metaphor, Gaines calls into question the principle of "universal truths": the center of hegemony.

Joaquin Segura's flag piece, Untitled (Flags of our Fathers, U.S Confederates-Angola), is part of a continuing series that is the result of a rigorous investigation on the heraldic elements that conflate the identities of an assortment of radical groups, ranging from the extreme right-wing to violent leftist organizations. Color patterns of the flags in which the US has exerted open or veiled military influence were also integrated into the various designs of the works. The work scrutinizes the "absurdity of absolute ideologies," and the manipulation of "heraldic elements" that create conformed identities.

With Untitled (MP5K PDW), Nate Young explores a cultural obsession with violence, collapsing opposite poles into a single gesture and opening a space in which the binary opposition must be questioned in relation to cultural construction.

Stills from A Study of Gratification and Restraint No. 2 are a documentation of a collaborative video, in which Nery Gabriel Lemus and Nate Young further illustrate issues of racial tension, violence and gratification through the gradual and painstakingly literal consumption of weapons.

Las Cienegas Projects is an artist-run project space and gallery focusing on large-scale, collaborative and project-based artworks by a broad range of local, national and international emerging and mid-career artists. The gallery is located 1 1/2 blocks north of I-10 at 2045 South La Cienega Blvd., Los Angeles CA 90034, between Cadillac and Guthrie. PARKING IS AVAILABLE IN BUILDING'S PARKING LOT (shoe store side). For further information, please contact LCP Co-director Amy Thoner at 213.595.8017 or write us at lascienegasprojects@gmail.com.

Five Thirty Three is pleased to present Tumbleweeds and Other Histories, a group exhibition exploring the weeds of a historic landscape.

weed
–noun
1. a valueless plant growing wild, esp. one that grows on cultivated ground to the exclusion or injury of the desired crop.
2. any undesirable or troublesome plant, esp. one that grows profusely where it is not wanted: The vacant lot was covered with weeds.
3. Informal. a cigarette or cigar.
4. Slang. a marijuana cigarette.
5. a thin, ungainly person or animal.
6. a wretched or useless animal, esp. a horse unfit for racing or breeding purposes.

tum·ble·weed [tuhm-buhl-weed]

–noun any of various plants whose branching upper parts become detached from the roots and are driven about by the wind.
Origin: 1885–90, Americanism; tumble + weed